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Project Report: The Learning Landscape Craig Trompetter ID: 13208934
University College Dublin Architectural Technologies V – ARCT 30100 Richview School of Architecture Semester II 2014
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Abstract The purpose of this report is to explore and analyse the process and results of the Naul Agricultural school project within the Design VI module: The Learning Landscape (ARCT 30040) semester II 2014. The aim of this module was to develop on skills in architecture at a variety of scales within the context of the rural landscape and townscape of Naul, including regard for the sensitive nature of the briefs educational component. This report acts to critically analyse the design decisions made throughout the design process, strategic ideas, methods of representation, choices made in design technologies and the state of the project at final review. In doing this I have been able to identify strengths and weaknesses within my methods undertaken. This report has helped me to develop myself as a student of architecture forcing to me consider my current and future position, interests and ambitions in the broader context architecture. As a New Zealand exchange student this report has proven invaluable to me as a means of clarifying my own ideas.
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Project Report: The Learning Landscape Naul Institute for Agriculture The design process is always in a constant state of flux, a desire to revisit stages and ideas is conflicted by the necessity to continuously push forward imposed by set deadlines. This was also the case of The Learning Landscape project. The extensive nature of the brief coupled with the carefully organised weekly outputs meant that there was often little time to reconsider design decisions. In analysing the project sequence I will first look at initial conceptual strategies, site visits and precedents followed by the scheme development stage up to interim review and then how the technologies aspect of the project folds into the design process as we approached final reviews. Following the analysis of sequence I will then provide a stand-alone analysis of the final product with regard for comments made at final reviews.
Figure 1: Elevation Asplund's Crematorium 1:500@A3
The first given assignment was the precedent study focusing groups of three students on successful architectural projects and concepts relevant to the brief. My group was assigned the 1940 Woodland Crematorium by Erik Gunnar Asplund in Stockholm; specifically I was focusing on the 1:500 aspect investigating how the project relates to the immediate landscape. In drawing elevations and the building of a basic 1:500 model (figure 3) I realised in part the composition that Asplund achieved. His project (to me) became a series of interconnected buildings each defined by their internal program, then sited to achieve the desired relationship with the long entry path, the open fields of the landscape and the closed environment of the cemetery. What I found most interesting and relevant to my project was how the complex became a threshold in the landscape, an idea that I returned to constantly throughout my design process. Although on a different course and timeframe the technology precedent study appeared in much the same way as the design precedent. Again assigned into groups of three we were tasked to analyse the technology side of a successful building at a smaller scale. Inadvertently in undertaking the task we also developed an understanding of composition in the building relative to technological decisions made, a crucial design process which I only really began to fully understand the importance of much later. Our assigned building was Le Corbusier’s Sainte Marie de La Tourette monastery in France, 1960. In my opinion this project shed no light on the brief at hand however the integration of technological
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techniques and the impact that these decisions make became an integral consideration amongst later thought. Both precedent studies concluded with a carefully considered digital presentation to the design VI class. This became an indispensable exercise by where research and thought came together in a practical sense developing a strong foundation to begin building our project ideas upon. From my point of view I found the precedents inspirational, many ideas both Figure 2: La Tourette analysis – part of page 1 (1 of 3) - 1:50@A3
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conscience and unintended influencing me throughout many later design decisions. However there was no specific precedent on which I holistically developed my ideas from. This decision was made consciously and resulted in later moves towards the vernacular. In hindsight this decision can be seen as a little foolish however it helped to conceive, in large part the distinguished character of my project. Figure 3: Asplund study model 1:500
On Friday the 24th of January the class undertook the first site visit of the semester (at the same time as the precedent studies). This was the first time I had experienced the rural nature of Naul and indeed the Irish countryside. The purpose of this visit was simply to experience the site and get a feel for the conditions relating to two general regions of the landscape. At the time I was somewhat confused as to the purpose of the trip, taking photos of many aspects of the area which proved to be irrelevant in later stages of the project (regardless of my choice of site). Walking about the fields I took an interest in how the natural land features developed the boarders of the farm plots, and then how that related to built structures such as rural houses, The Church of the Nativity, the ruins of Westown house and the townscape of Naul. Looking back on this I realise that it was not the analysis of this trip that proved most useful to me, rather it became experiences of the trip which informed my ideas. Specifically the way the landscape had taken back Westown house, the way different working sheds dominated different site plots and most interestingly the way the town dairy operated as a hub for Naul – the dairy effectively becoming a threshold in itself. Although not immediately apparent these experiences helped shape my decisions ultimately leading to my core idea at the end of the project: The Tailored shed. Figure 4: Select site photos - initial visit Naul
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Pulling together knowledge found in the precedents, site visit and the cryptic text of the initial brief I developed my initial site strategy. This exercise was to allow us to work up an idea without the constraints imposed by the brief; the idea was then to feed into following design decisions. I found this initial design stage confusing and that showed in my concept design (figure 5 and 6 below). The scale of the building was far too big, it encompassed a total disregard for its setting and the extensive nature of the green roof ignored the brief altogether. As the green roof was the driving idea for the scheme the entire strategy was a failure. Also interestingly I orientated the building to take in the sun coming from the north, as Naul is in Ireland and not New Zealand I soon discovered that following stages of design should consider solar access in a way better suited to this side of the world. However, developing the scheme in totally the wrong way enlightened me, awareness of that fact directing me in a much more appropriate direction. Ultimately this stage of the project (in my opinion) was highly successful as a concept and a point of departure informing my project from that point onwards.
Figure 5 (above): 1:500 Concept model Figure 6 (below): 1:250@A3 concept section showing brick and green roof
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Upon receiving the complete project brief my initial response was to consider how the various allotments of space related to the new brief and the initial project description. In doing that the choice of site was simple; site A offered diversity, natural boundaries, possibilities in integrative threshold and overall a medium on which my original thoughts could be expressed. Following site selection I immediately referred back to my original concept strategy and with the outcomes from it in mind I allowed that to guide me through the process of site survey. The second site visit allowed all the students to establish a more clarified vision of what their project could be. Dividing both sites by lines of study, groups of students developed sets of stitched photos and sectional drawings complete with a rough contour map (my stitched photo below Figure: 8). In doing this I found a new appreciation for the composition of the rural landscape and what it would mean if my original monstrosity was actually built. Analysis beyond that of the set survey then provided me with a more in-depth understanding of what a rural landscape is with a focus on boundary conditions – whether defined by the stream, a row of trees or foundation wall – and the relationship of those boundaries to open space. It was these ideas melded with earlier discoveries which formed a strong foundation following through to the end result; however, it is worth noting that one hundred percent clarity of my ‘key idea’ was only really achieved after interim reviews, which meant for some confusion in design stages inbetween. Part II: Development In contrast to the set hierarchy of the five week program leading up to interim review my project developed in two clearly defined stages, the former informing the latter. These two stages are separated by an intermediate review by where an invaluable discussion made me consider how well my project was adhering to my project ideas constituting a dramatic change. During these stages technology lectures and site visits focussing on built works helped me to make informed decisions, the parallel module also inspiring me to seek out further precedents of relevance which could further inform my process. Ultimately it was this integration of the two modules that guided me to the stage I was at for interim review.
Figure 7: Select images - site visit two
Figure 8: Stitched photo North CC
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Figure 9: Early extract from sketchbook showing consideration of various elements developing into one cohesive whole
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With brief and allotment schedule in hand my initial response was to study space and site in plan (figure 11). Through concept models and rough sketches, earlier ideas manifested themselves into a scheme of four volumes each encapsulating component spaces of the brief. These spaces were grouped by the explicit requirements outlined and by my ideas regarding how space should relate to circulation, and then how that folds back in with the site constraints – site constraints both fixed and indeterminate. A sketchbook extract (figure 9) shows how I was thinking about the project at the time. This specific page shows integration of precedent studies whilst I was considering the order of spaces, while not forgetting my original design goals. The informal reviews in week four provided me with some insight into various inconsistencies between my design ideas and the actual project developing. “You say this is such an amazing space, but what is it that makes this space so amazing to be in?” commented one tutor, “the depth of the plan is overstated when considering how you approached it”. It was the discussion regarding these two comments which forced me to reevaluate things; possibly it was the failed elements of the first concept seeping into the new, or perhaps it was naïve decisions made due to a lack of understanding in the brief. Regardless changes were made but my ideas were not lost. A sketch at the time showed how a change in mentality literally ‘unravelled’ the original strategy to form the new. The new consisting of a scheme which derives itself from the site boundary conditions, its relationship to Naul’s townscape, ideas of ‘flow’ taken from the adjacent stream (an important note made at the time: “if a river flowing cannot take a 90o turn then if circulation is to flow then neither can it”) and then how that functions in parallel with considerations of use. Questions that then arose to be considered: who is it that uses the building? How do the use it? Where do Figure 10: Sketch, 'unravelling' they arrive from? What is relevant to achieve effective arrival if my original ideas are to be adhered to? Figure 11: Thinking about allotments of space: Development up to interim review consisted of the I used pieces of plywood representing each refinement of the developed strategy; however, a clear view component (e.g. library 200m2) to scale 1:500 of my ‘key idea’ had not yet been found. Using model, plan
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My approach to the interim review presentation was to some degree in contrast to other student presentations, possibly due to variations in practice at my home university. My presentation consisted of a series of refined drawings (scaled version of presentation on following page), from Parti sketch (right, figure 12) to a 1:50 sectional perspective (below, figure 13). Although coming across with the perceived intension of a final solution looking back on it now the exercise really became one of the most important tests of my work to date. Figure 12: Parti drawing Interim The wall presentation was undoubtable impressive however the way I spoke about it, in an attempt to link theory to the workreview produced, showed a lack of clarity in understanding of my own ideas – obviously leading to the tutors confusion. I knew what I wanted to achieve and how to achieve it but I had trouble in defining a train of thought, which would in effect would arrive at the presented work. The design at interim review consisted of a series of strongly interconnected considerations in various project elements. The most important value was a desire for a familiar design technology to shape the project, first structurally and then aesthetically. Portal frames set with corrugated iron sheet roofing and cladding could form the initial form and then an abstracted geometry of the roof pitch could develop a triangular motif which in itself could begin to organise a system of daylighting. These were then planted on the site through the consideration of site boundary, solar orientation, original site condition, points of access, and paths of circulation. All these developed aspects were then structured with another layer by the connection of the farming landscape to the Naul townscape; this lead to the idea of the building as a threshold and what that threshold could mean to the project as a whole. It was these core themes which organised the project the way it appeared on the wall, and more importantly the themes that lead me to my key idea of “The Tailored Shed”.
Figure 13: Sectioned Perspective Interim review – Ink line sketch with Photoshop rendering
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Figure 14 (above): Scaled wall presentation - Interim review Page one and two (original size: A0)
Figure 15: 1:500 interim review model in class site model
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Part III: Technology as design During the next five weeks of the semester we were required to develop our projects through a series of detailed and integrated investigations into the structure, environment, assembly, materiality, and expression of our individual agricultural schools. Thus the remainder of the semester became a conglomeration of design and technology by where our technology decisions are made to reflect our original architectural design goals. In the case of my project, earlier technology decisions where structure precedes form became solidified by technological research. These last weeks concluded with final reviews and the end of the taught semester. To begin this half of the semester I chose the most important spatial sequence within the project to investigate and develop, this investigation informing the overall project in coming weeks. To undertake this investigation I first constructed a 1:200 roofless model, this allowed me to get a better sense for how my decisions related back to the overall composition at an appropriate scale. Building of the model lead me to conclude that the Figure 16: 1:200 model, roofless
most import spatial sequence was the public building (central two story building) as a threshold, and how the wider context of the farm responds to that threshold. As instructed I drew up a set of 1:50 outline drawings with accompanying A3 study sheets identifying appropriate decisions to be made. These exercises proved highly effective in appropriating initial technologies into the scheme and giving me a stronger foundation on which to advance. Figure 17: 1:100 Study into environment and enclosure included the following processes. Using various methods of representation I explored the character of the external envelope within my chosen area of investigation; specifically I looked at materiality, depth, structure, space, lighting and ventilation. A 1:100 axonometric (right) provided the basis on which I began to implement technologies while at the same time deciding on how to make connections between the various spaces. Through this sequence my original Idea of the tailored shed began to embody the concept of a ‘space within a space’. The first space being all that is covered
axonometric, public building (scaled)
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by the PVC plastic and corrugated Iron shell and the spaces within being hung on the second floor. Thus a complex system of space and threshold develops out of the simple form of the portal frame shed. Beginning again at a new scale, 1:5 and 1:20 detail investigations became integral to the design process. It is only at the largest scale of 1:5 that I really began to understand the implications of a seemingly minor decision made at scales 1:500 or 1:200. This defines an important point in my process which changed my mentality towards design decisions in later weeks. An early developed detail (below, figure 18) shows how using the appropriate technologies in steel framing, polished screed flooring and an extended glazed wall can develop on the idea of diminished threshold. By doing this I am able to set up a sequence of space, the second floor library (space within the space) down to the first floor commons area and then seamlessly south, out onto the farm. In effect this creates a gradual threshold between the enclosed library and the expansive farm-scape. The institute commons then forms an in-between space on that threshold that achieves my original intent, in that the building itself becomes a threshold. Subsequent details of a similar nature allow me to develop other areas regarding the public building spatial sequence.
Figure 18: 1:20 and 1:5 details Glazed wall (scaled)
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Figure 19: Elevation study, cantilever detail (page 1 of 4) 1:20@A3
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At the beginning of week ten I began to look at a particular detail and its associated threshold within the larger study area of the main public building. This study focused on examination of character in internal spaces, consideration in finishes, its use, and the overall feel of the space. It also gave me an opportunity to test daylighting conditions in two of the most important areas of the project. To achieve this study I first developed a detailed part-section at 1:20 and relevant elevations, this then informed the construction of a 1:20 structural model (Shown right, figure 21). The model proved to be a critical moment in my design process as it allowed me to first, test the cantilever design and then to evaluate how successful conditions of space and threshold had been achieved. The results from this testing culminated in the decision to eliminate the aesthetic of the cedar cladding (among most other timber elements) in favour for a system more expressive of structure and the idea of the tailored shed. Multi-wall polycarbonate (MWPC) thus became the material of choice for its variety of transparency and its ability to eliminate studs in favour of a truss system. By doing this the main public building developed into one cohesive whole expressing beautifully my ideas on the tailored shed. Figure 20: 1:1 detail, Triple wall polycarbonate detail (scaled) (left)
Figure 21: 1:20 structural part model, Main public building (right)
The final parts of the design process consisted of the resolution of work produced thus far and the amplification of new ideas across the rest of the project. In doing this I began to piece together all the parts of the project into one coherent design, this meant updating parts of the project outside the initial study area as mentioned above. The work being produced at this stage included a reworking of the sections and plans at the appropriate scales, new and complimentary technology detail drawings, and investigation works expressing - most effectively - my core ideas and their composition. Shown on the following page is a scaled version of my final presentation (a copy of this presentation is attached to the back of this report for consideration). The choice of drawings was highly effective in expressing my design and this showed at final reviews. I also completed a 1:200 exploded sectional model which corresponded to the presentation on the wall. The resolution, composition and consideration of scale, not only acted to present but also became the most effective part of the design process throughout the semester. By considering 1:5 details
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relative to the 1:200 model (links made in presentation) the design really came together cohesively and coherently.
Figure 22: Three pages, Final wall presentation (actual size copy attached to back)
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Part IV: Project analysis The final reviews provided the penultimate test of the project (the last of course being portfolio submission). A very well prepared presentation and three minute talk about my project was followed by a discussion on the work by a panel of experienced tutors, both familiar and foreign. Discussions considered how well my ideas were carried through in the project and how well the project adhered to the brief. There was a general consensus that the main public building was highly effective in both these aspects, the building describing the desired threshold as a well resolved composition of ideas. However, following this there were comments made about how well the remainder of the project conformed to the same ideals. “When we as architects have a good idea, it is best to push that idea through every aspect of the project. I think what is happening here is that there is too many ideas going on at once”. This comment shed light on a weakness in the overall composition, although the argument can be made that this was to some degree intentional defining sets of space as separate elements. Another discussion regarded the triangular motif used to open various parts of the building for light; there was no real conclusion to this discussion other than thoughts expressed in the general application of motif in architecture. The review overall gave me a sense of success in the project despite several discrepancies.
Figure 23: 1:200 exploded-sectioned model
The process undertaken throughout the semester was strongly related to how the tutors originally set it out. A designer’s process is a designer’s process, to enforce a strict hierarchy onto all the students for any given brief will always result in some confusion and misdirection. As an exchange student coming from another architectural school I found this process hard to grasp; difference in opinion of various tutors coupled with the dramatic change in work ethic proved challenging throughout the semester. Also there were many stages of the design process where it was hard to confirm whether an assigned drawing was to be a rough working drawing or a finished piece of work up to my presentation standard.
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However as a whole the overall process was highly effective and that was shown by the success of the project at final reviews. The integration of technology with design was a key component of the semester developing a strong understanding that in effect technology and design can become one process, each informing the other. The semester of work had its weaknesses and its strengths, although undoubtedly the goals set out were achieved. It has become important for me to understand that a design process is never finished, the endings are only really defined by deadlines enforced – whether that be at school or in practice. The integration of precedents, site visits, variation in scale, detail, technology, instinctive design, rational design, critical analysis, investigation, exploration and critical review - the list goes on - becomes the basis by which we design. In saying this it is the holistic blending of all aspects which becomes the character of the building and the character of architect; however, also in this case these aspects define character of the landscape, The Learning Landscape. - 3895 words
Figure 24: Final render – perspective, cantilever